This DCD collection got compiled by the international renowned DJ Lenny Dee and released on his very own Industrial Strength Records, the first Hardcore Techno label active since 1991. "Cold Fusion" comes out in beautiful digi-pack and offers a cross-section of multiple Techno-Hardcore and Gabber tracks to prove, that the musically boundaries to the too often praised EBM/Industrial/Powernoise genre is floating. With acts like TERRORFAKT, here presented with 2 appearances ("Achtung" – CERVELLO ELLETRONICO Remix and "Headcase" – Floppy Disk Remix), this prove is an easy game. Some more appearances can convince in a comparable style, THE SPEED FREAK, the ultra-speedy, pseudo-aggressive and with Metal-guitars supported MOSHPIT, the saturated CUT A KAOS or KONEY. Of course this music has to be consumed louder as hell and won’t let you chill out, it is stuff to storm the dancefloors for some wild Pogo action. This reminds a lot on the successful but too repetitive "Terrordome" compilation series, even if some of the here featured pieces have a somewhat more harsh and distorted outfit. No stuff at all to sink in and to listen to in an armchair, but a new pounding torture for the dedicated fan of the genre. To me consumable in small dozes, but as a whole a bit too strenuous.

Track listing:

CD 1:

01. LENNY DEE - EXTREME MASH (the intro)
02. DJ EARTHQUAKE - STEP INTO THE PIT
03. THE EMPERATOR & CHROMATIC - MENTAL FEAR
04. FIEND & BROKEN RULES - SHARPER IMAGE
05. CUT A KAOS - DEDICATED TO...
06. TERRORFACT - ACHTUNG (Cervello Elettronico remix)
07. STAN GREWZELL ELECDAS GRAUEN
08. TERRORFACT - HEADCASE (FLOPPY DISC REMIX)
09. KONEY UNREGISTERED
10. DAISY & STORMTROOPER - MINDWALKERS
11. MOLECULEZ - LEGALLY INSANE
12. FORSAKEN IS DEAD & CIK - WHERE U AT
13. TYMON - PASSING BY
14. MANGA CORPS - THE HUNTER
15. BROKEN RULES - NORMAL OPERATION
16. GERMAN RHYTHM DISASTER - THE END

CD 2:

01. THE SPEED FREAK - GIVE ME A CALL
02. LIFE:::RUNS:::RED MEETS TYMON - DISTORTURE
03. TYMON - GUCCI
04. STORMTROOPER - TODESVOGEL
05. OPHIDIAN & TIEUM - NOTHING I CAN’T HANDLE
06. LENNY DEE - THE DREAMER (promo remix)
07. DELTA 9 - NO MORE REGRETS (inyoung & static remix)
08. FIEND & BROKEN RULES vs LENNY DEE - BREAK YA HEAD
09. TIEUM & LENNY DEE - I DON’T LIKE YOU (neophyte & evil activities remix)
10. PARTYRAISER & THE NEGOTIATOR- NO NEGOTIATIONS
11. JAPPO & LANCINHOUSE- EXLXAXL (NEOPHYTE & EVIL ACTIVITIES REMIX)
12. DJ SKINHEAD - THE ULTIMATE CUMSHOT
13. AKIRA - RIPPIN FXXKIN STRENGTH
14. ISR CREW - SPECIAL MESSAGE FOR LENNY
15. MOSHPIT - EYESORE
16. RIFF GLITCHARD - INSTANT MASH
17. MOSHPIT - WE KILLED JAH

I should admit in advance that the above used link to contact this US one-man-act leads you directly to the brainchild of GENOCIDE LOLITA, Justin O. I couldn’t resist to watch and search a bit at MySpace after this act, since the given contact information I received from SkullLine, the responsible label for this release, led me to a deleted MySpace account. Currently there isn’t any real artist profile available of this act, as Justin slated it on his profile: "I have about 12 musical projects at the moment and none of them have a profile at present because they are a little too adult and truthful for this preschool oriented community." Well, but another truth can be the fact, that the rough politically-driven onslaught of this act pisses mighty against Tom’s wooden leg. Maybe this all has ended before too often in deleted accounts, until Justin got fed up with the procedure to create new accounts as often as possible. The music of GENOCIDE LOLITA can be described as a Lo-fi version of rough Power-Electronics infiltrated with uncountable samples taken out of news flash reports, sirens, trailers, and so on. All efforts are based and intended to add a quite questionable politically influence to GENOCIDE LOLITA. I think that Justin has become to a somewhat public enemy, also some of his racist-inspired ideas to "organize a new separate nation for white people called Vinland" won’t do any good. But back on track since I have to review his music instead asking for his politically correctness. The globally music outfit is quite disturbing, it’s harsh, but only at times rhythmically oriented. Sample by sample got overdriven, repeated and delayed to provide a very own form of Powernoise. A bit more clearance in the production and also on the raw screamed vocals would may do any better. I would suggest to check this stuff out in advance, as there will be hopefully some tunes online available in a "more parental" community. 9 tracks are featured using some self-describing titles like "Guantanamo Bay – Camp X-Ray", "Sharp Shooters" or "Are We Artists Posing As Terrorists Or Are We Terrorists Posing As Artists?" on this limited item, as usual you’ve to hurry up to contact the German SkullLine label, in case you’re interested.

A new addition to the growing roster of Germany’s SkullLine label, the mail order specialist for rarities out of all experimental fields of electronic music. As the chosen band name may announces it, ARGENTUM are hailing out of Argentina and offer a 14 track long debut, which can surprise with its musically direction. The first 7 tracks are based into a form of Neo-Classic music. Organic strings, pianos, a drum set with a rotating march snare drum are the ingredients, but this all ranges between melodic and bombastic. Very nice work, the interested listener based into this kind of music will appreciate this efforts. The surprise then starts with track 8, "The South Emerge", where ARGENTUM are switching their musically outfit completely into Power-Electronics and rhythmically Noise. The title track also features an ominous vocal performance which lyrically refers on the expected rough things to come. It’s interesting to see and hear, that this act is capable to deal with these both totally different musically directions. This counts also for the Power-Electronics part on this album, which is far away from the too often heard "distort-that-Techno-bass-kick-attitude". Limited to only 100 pieces and once again in a special packaging, I recommend to check the availability at SkullLine. A goody to be picked up.

Another new and yet-not-discovered-before new signing to the growing Electronica armada of the Chicago Heights-based Tympanik Audio label. We had this act already presented here with a review and a well deserved interview, I nevertheless come a bit later on this too. AD-VER-SARY is a solo effort by Jairus Kahn and long-year active Techno- and Underground-DJ. He has already shared some collaborations with acts like CONVERTER, TERRORFAKT or ANTIGEN SHIFT – and CYANOTIC. After having read this and heard the first both tracks, I really thought: "does Tympanik goes Electro-Metal"? Okay, those guitar riffs are sampled, stretched and manipulated, but it seems that some or another of the collaborations has left some organic influence on the musically outfit. Luckily Jairus leaves the Coldwave-Industrial-like influence after the first tunes. AD-VER-SARY’s playing field is a rather straight oriented form of Electronica music, here and there infiltrated with a promising mixture of Dark Ambient ("International Dark Shies"), Powernoise ("No Exit") and some Down-Tempo/Break-Beat impressions ("Friends Of Father", "Bone Music"). It is promising, since the try to include diversity seems to the intended and outstanding point behind this release. Three additional remix work provided by mouthwatering Ant-Zen7Hymen-recording acts like SYNAPSCAPE, ANTIGEN SHIFT or the mysterious TONIKOM (marvelous!) fulfill a quite great release, whose magic can’t get discovered after only one listen. This album needs some more spins to reach fully satisfaction, which is at least guaranteed.

Earhate is the project of Ryan O’Neill hailing from Alberta, Canada. Planet Killer is Earhate’s first CD-r release by Smell the Stench Records, but appears to be a small part of an extensive discography. Planet Killer is, as the CD insert so delicately puts it, a forty-four minute wall of noise.

"Wall" might not be the best way to describe this sound, but it is close. I believe a better description would include a layer of brittle sandpaper. The sounds here are relentless, low-end/bass-filled, analogue static. The main layer of the song dominates and remains constant throughout the entire forty-four minutes. There are more subtle, higher frequency changes happening constantly throughout this track, but the listener would need to be masochistic to hear these in detail; even in low volume my cochlea is crying out for help.

Earhate’s Planet Killer goes all out on the noise side of things. Planet Killer is formless, chaotic, spiteful, and intense. This is the sound that originally attracted me to noise, and still holds a strong place in my heart. This is definitely a release for the more devout of noise lovers.